Skylark Vocal Ensemble - shades of blue: choral music of Mark Van Overmeire

Skylark Vocal Ensemble

shades of blue: choral music of Mark Van Overmeire
self-released; 2025

By Jamie Funk
​

Skylark recently released an album called shades of blue, featuring the world premiere recordings of Mark Van Overmeire’s choral suites Hereafter am I and Between the shadows. The 40-minute release explores themes of legacy, self-discovery, and resilience, shaped through a unique collaboration between the Belgian-American composer and the ensemble. Known for his post-minimalist style and background in percussion, Van Overmeire granted Skylark creative freedom to interpret his works, resulting in a richly textured recording that expands beyond traditional classical vocalization.

The opening track, “Hereafter am | 1. Torch of the Past,” sets the tone immediately. Male and female voices weave into one another in a way that recalls a church choir, but it doesn’t feel rigid or ceremonial. It feels expansive. There’s a reverent atmosphere here, and I got the sense that the room they recorded in is almost another member of the ensemble. “Hereafter am | 2. Beyond the Gaze” and “Hereafter am | 3. From This Day On” keep the arc intact. There’s no break in cohesion, and the suite flows with a kind of internal logic that’s hard to describe but easy to feel.

When the album shifts into the Between the shadows suite, it doesn’t so much pivot as deepen. “Between the shadows 1. When All Is Said and Done” features some of the most affecting vocal work on the record. The melodies feel like they are descending gently, landing with surprising weight. On “Between the shadows 2. I Come to You,” the pauses between phrases carry their own emotional charge.

​I loved how “Between the shadows 3. In Your Dreams” tapped into a stillness that didn’t feel static. It felt alive, like breath held in a quiet room. “Between the shadows 4. Where We Live Together” opens up into something more theatrical, while “Between the shadows 5. Hiding Between the Shadows” closes things with soft, shimmering vocal tones that felt like the record finally exhaling.

This is not a record that tries to meet you halfway. It asks for your attention and assumes you’ll give it. I did. While it can be hard to distinguish the songs individually because of the all-vocal nature, I found that limitation became a strength. There’s a through-line of emotional clarity that made me want to sit with it from start to finish. The recording feels natural and present, almost as if the space itself is singing back. If this style speaks to you, it will pull you in completely.

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